Sean Kennedy-Lockwood Process and performance blog assesment 2

1)
Within the earlier stages of the process the group were given only a small amount of information which was the key concept this was the starting point to which we would develop our own characters for the piece and bring the character into the performance space. The group was then able to develop though the series of ‘play’ sessions. This gave the group a chance to develop their characters further within the piece and find new and interesting character traits. Within the development process, as a company, we have been able to explore many different angles of our characters. In separate groups, within the piece, we were able to develop scenes by using the clap technique.
The strategies that we have used have helped the development greatly as our characters are now taking shape within Porto. the play sessions are continuing to help as it gives us the freedom to create and develop with a group and individually, giving our characters distinction this helps the ensemble come together and refine what we could keep for the piece.



2)
From the beginning of the process to where I am now in Porto my character has developed greatly. Originally my character lacked confidence with certain people and throughout the process and interaction with others this has changed gradually. The initial tasks with the chairs left me uncertain about my character and where it was leading as I struggled to develop a sense of who the character was, however I am now becoming bolder and confident within the piece. Within the play session I was able to develop a greater understanding of the character which had emerge from within myself and it provided me with freedom to try new ideas.
Now my character has a purpose and has embarked upon a journey, where as before I did not see my characters objectives clearly. " Whenever we work physically we find things that we never could find if we did nothing but think"(Julien Becks: Pina Bausch-Wuppertal Dance Theatre or The Art of Training a Goldfish 1978,1984 ) It was through the self exploration and emotional breaking down of the social wall which allowed me to open up and develop my character, without which would most probably been left undiscovered within myself.


3)
My characters physicality is began as quite shy and low with my spine slightly curved and head down to show the lack of confidence at certain times in Porto, however as my characters grown it has become much stronger, upright in posture and bold in appearance. My characters body language is intimidating in presence with my shoulders back and my broad appearance. However this changes within the performance as my character generally shift my body weight from one side to the other with a casual stance to show the relaxed attitude of the character and a confidence throughout. The confidence of my character is also shown when lifting others, which is quite brash and boastful with what he does.
‘After working together many hours a day for many years, it is not my words but perhaps only my presence that can say something’ (Barba, E, 1979) making my presence noticed through physicality I was able to shape the character. Through body memory this has now created a physical quality to my character in Porto.

Bibliography
Bausch, P. and Schmidt, J. (1978, 1984) ‘Not How People Move But What Moves Them’, Pina Bausch-Wuppertal Dance Theatre or The Art of Training a Goldfish, trans. P. Stadie, ed. N. Servos Koln: Ballet-Buhnen Verlag: 227-230.


Barba, E (1979) ‘Words or presence’, The Floating Islands: Reflections with Odin Teatret, Trans.J. Barba, F. Pardeilhan, J.C. Rodesch, S.Shapiro and J.Varley, Denmark: Thomsens Bogtrykheri 73-79.
First published (1972) in the drama review 53